If you spend any signficant time listening to 80s music compilations (or whatever form of radio you happen to use), you will eventually hear After the Fire's "Der Kommissar". This English language version of Falco's German original was a top 10 hit in the United States and, to many American listeners, the accomplishment of this one hit wonder. Had I not come across the ATF album at one of the half dozen record shows my dad, brother, and I attended in my teenage years, that would have been me. But, the random find of that former library loaner was quite signficant to my view of the musical world. The ATF album is a compilation of material previously recorded by this British band and packaged into an American release to feed off the success of "Der Kommissar". My younger self didn't know this. My lack of context did not, however, effect my pure attraction to the collection of new wave music contained on the LP. From one song to the next, a listener is treated to original, impassioned, and consistently strong performances that demonstrate the beauty of the new wave movement in the evolution of rock music. "Laser Love" leads the album with some seriously dated sounding synthesizers and goofy-ish lyrics, but it's catchy pop music. Those sythesizers are used to better effect throughout the rest of the tracks and compliment excellent rock instrumentation and an even more impressive use of background harmonizing. "Dancing in the Shadows" begins as soft verse contrasted with the sharp jabs of a multi-voice chorus, ultimately building to general excitement. "Sometimes" is pure energy that slows down just enough at the end to highlight the repeating sentiment of the song, "...when you say you love me there's nothing I can say, times like that I think you just blow my life away". "Carry Me Home" is longing, synthesized. And, "Starflight" is a journey through space (yes, space) with high pitched tones and exhilarating lead and backing vocals. This is an LP I have listened to sporadically for my entire adult life. It almost always garners a full listening; very rarely cherry-picking individual songs. I am comfortable sayings ATF is one of my absolute favorite LPs. But, it was relegated to occassional listening due to format. I wanted a CD. In 2001 (unbeknownst to me), Collectibles released the album as Der Kommissar on CD. Finding it more than a decade later, I was excited. This disc contains the track list from the American release with a couple additional pieces (a dub version of "Der Kommissar" and a high energy instrumental called "Joy"). From an After the Fire perspective, all should be great in my little corner of the world. Well... almost. Unfortunately, the Collectibles release replaces 3 of the original version of songs with inferior re-recordings. So, "One Rule For You", "Dancing in the Shadows" (replacing some of the synthesizers with horns!?!), and "Starflight" are different. I'm happy to have easier access to ATF, but I guess I still need to hold onto my (two) copies of the LP. Technically, I have reviewed the CD version that you can still buy new. Add half a star for the original LP version.

Some music, though not world changing, is simply an important part of one's music lifetime. This is definitely not a new concept, but it is something interesting to consider from time to time. I bought Hallelujah Anyway at a Coconuts in a shopping center on Brookpark Road in Cleveland at some point in the early 90s. Sitting in a bargain bin, this particular album by the Dancing Hoods got my attention with a sticker that said something along the lines of "the first picture disc made in America." I believe it was in one of those long cardboard boxes in which CDs were originally sold, and it allowed me to admire the image of the tiger on the disc. How could I pass it up? For the last 20 years, I assumed the Dancing Hoods were an obscurity. At the same time, Hallelujah Anyway never slipped out of my view and has had a lot more plays than many of its peers bought at that time. Lead singer Bob Bortnick seemed like a quintessential rock singer, and the playing of Mark Linkous, Don Short, and Mike Gracino seemed to demonstrate the culmination of a lifetime of becoming a rock band... the highest point for a group of nobodies playing music. Opening the album, "Torn Away" is an observation of defiance paired with a little 80s sounding alternative rock. "Baby's Got Rockets" slows it down slightly, while upping the feeling of significance. Despite not knowing exactly what the lyrics mean, there's definitely deeper meaning here: (my interpretation of the chorus)

I'm going to count to ten. And then I open my eyes. I don't want to see anything. I'm going to count to ten. Baby's got rockets on again. Just like the movies. Baby's got rockets on again. And, I'm losing sleep.

Damn. That sure does seem like something, and more often than not I find myself singing along with Bortnick. Following this, "Better Look Up" and "Puppet Dancing" go for some harder rock sounds, including a dark electric guitar beginning on the latter. Then, "Welfare Shoes" tosses a little country-tinged fun into the mix; upbeat and lighter. A variety of genres and sub-genres in one sitting. The final track ("Wish I Could Tell You") pulls it back to that 80s alt rock sound with which the band seems most comfortable. Emotionally sung with lamenting lyrics, the song is a good fit to awkward teenage emotions. Amidst the various original tracks (mostly by Bortnick and Linkous), the Dancing Hoods toss a couple covers into the mix. Leonard Cohen's "Diamonds In The Mine" is played quick and loose, with a lot less anger than Cohen's version. And, the Dancing Hoods do no harm to John Prine's "Angel From Montgomery", with a nice mix of electric and country/folk tones. This piece stood out to me even as an ignorant child. As is often the case, I developed a favorite amongst the tracks of this album. Played acoustically with somber vocals and harmonies, "Falling Down" seems desperate ("everything is falling down...."). Outside of the album context, this is a song I included on mix tapes. Bortnick convinced me that he knew something, and I treated these lyrics as some sort of intelligent glimpse into the world around me. It's this piece that continues to be cathartic for me from time to time, which in turn inspires me to play this album... on a random weeknight... or a random car ride. In doing a little digging for this review, it turns out that the Dancing Hoods weren't quite as obscure as I believed. Their first album, 12 Jealous Roses was met with some degree of critical acclaim!?! Apparently, Hallelujah Anyway was a bit of a letdown, with the group disbanding shortly after. Still, "Baby's Got Rockets" got some play on college radio and MTV's 120 Minutes. The Dancing Hoods got close to making it "big." Additionally, Mark Linkous actually had a second act in forming the band Sparklehorse. So, after all these years, my little "unknown" turns out not to be. I think that actually makes me happier, knowing others may have experienced what these songs have to share. It also turns out that I have some more music to find.

It's funny how a little time can change things. In the early 90s, I purchased an LP at a record show by some random band. (It was in stellar condition!) Big Blue Sky by the Northern Pikes was, at that age, something I found funny. It seemed to me that there was too much rhyming and a general sense of goofiness. I bet I'd like it now, but at that time... Then, at some point in the late 90s, I said to several people that a Northern Pikes album was one of the best finds in music I'd had in years. And, this was at a stage where listening to music was serious; music shaped my life as it probably never can again. Snow in June is the 3rd album by this Canadian band. The album is rock and roll, and the writing, production, and performance is executed with a sophistication that constantly surprises. You go in thinking songs with titles like "Love These Hands" or "Kiss Me You Fool" will be fluff, but the cottony, tame stuff is nowhere to be found. "Love These Hands" is an attractive song of commitment and caring with driving instrumentation and a cool fade out. "Kiss Me You Fool" changes up the musical feel (something more "acoustic" sounding, maybe) but the observation of a relationship is again satisfying and mature. Then, following an uptempo bit of fun ("She Ain't Pretty," with the nicely juxtaposed follow-up "she just looks that way") are two deeper pieces that can seem monumental, if you're so inclined to such things. I was 15 years ago, and the sense of awe that I had for these two songs lingers on. "Tomorrow Never Comes" is a lament or, maybe, a warning about addiction and abuse with an almost etherial collection of vocals, guitar, and percussion. "Shadow of Doubt" is a heavier stab at the ugliness of humanity delivered by vocals varying from low rumbles to near excitement. Well done. The final feather in Snow in June's hat is the final impression it leaves. "Snow in June" is an epic musical experience with 3 stages. Beginning with a parting shot to the singing and instrumentation that you've experienced over the past 50 minutes, it transitions (with a wake up alarm, literally) to a slightly more pounding and impassioned serenade. Finally, with obvious separation, the listener is transported to an arena with 80s-style hard rock guitars as the grand send off. That's what you get with this album: a steady flow of interesting and varied pleasures. In many ways it probably works better for a mellowed (read: older) listener. Or, maybe it just sounds that way in 2012 to a mellowed listener (like me). As I did a little background research on the Northern Pikes, I found out that they actually experienced commercial success far greater than I ever realized. According to allmusic.com, three songs on this album even charted (Canada?). Oh well. In my mind, Snow in June is still an amazing album and an amazing find by a band that I nearly dismissed several years earlier. I am so very glad I didn't.

In the early 90s, the Dayton Daily News included local music reviews in it's Friday "Go" insert. For this impressionable music neophyte, these short takes and the accompanying ratings were just enough to catapult a handful of albums into "must find" status. Over the years, I did indeed find many of these and consider several to be among my most cherished music artifacts. I have the impression that one of those "Go" issues was referred to as a "Dayton Band Guide" (or something like that). Between this and a trip to Trader Vic's local music section, I acquired The Obvious' 1993 I Wanna Records release. From what I can gather (very spotty), The Obvious had been around for a number of years when Rock & Roll in the Big City was released. According to the CD insert, the band's mailing address was Dayton, but the album itself was recorded in Kansas City, Kansas. Over the course of ten songs, John Dubuc (lead singer, guitar, and lyricist) crafts a series of songs about life in a (small time) band, the world of local music, and a few miscellaneous tidbits. Gregg Johnson (Bass) and Tommy Gun (drums) provide the backbone of a competent rock & roll band. And, a Southwestern Ohio vibe is an undercurrent this local can't help but enjoy. "Two Thumbs Down" leads off the album with a lament about the aftermath of a bad review. This distinctive rocker showcases the wit and energy of the album and was released as a single with "Dollar Bill" (drugs?) on the flip side (one of my few 45s). "The Underground", "Who Says?", and "Stage Fright" continue the day in the life of a music act narrative. "Hall Of Fame" wonders why Pete Rose isn't in the baseball hall of fame (yeah, why not?). "(Get Lost) Jack Frost" is a goofy sendoff to winter. And, the title lyric for "Where Do You Fit In?" comes off the lips so easily; something that sunk into my musical soul many moons ago. Each track has a driving beat, energetic lyrics, and transitions into the next song with nary a thought to change the formula. This is local "rock," with a little less of the "alternative" to which I would later tend. I think the Dayton Daily News reviewer gave the album 3 (out of 5) stars. I have always been inclined to agree with that assessment. My gut told me that it wasn't a great album. But, in re-listening to these tracks for this review, I realized that this has spun in my CD player more times than I can even guess; I know and like these songs. Rock & Roll in the Big City is one of those treasured artifacts.

In my history of being on the edge of technology (NOT the "cutting" edge, mind you), the Super Audio Compact Disc (SACD) is my current fascination. Though not even aware of the technology until it's moment in time was in decline, I nonetheless have spent the past 6 years or so compiling a modest collection of classic rock and pop albums to enjoy in 5.1 channel glory. I love the technology. Unfortunately, I have had mixed feelings about the content I've found. I really like Fleetwood Mac's Rumors and Genesis' Selling England by the Pound; not such an immediate fan of the Allman Brothers' Eat a Peach; and I have more Elton John albums than I would ever have imagined. No serious complaints. But, as in all aspects of my life, I am always on the lookout for something a little off the beaten path... Steven Vidaic's Hearts Look Twice is a first solo album by the keyboardist for Citizen Cope. Having no knowledge of Citizen Cope, I walked into this experience having only read a brief review on an SACD website and the description on Vidaic's website: "In the tradition of 60's and 70's rock albums, Hearts Look Twice was recorded with the band playing live in a room together, capturing a sound no longer common to record making." Sounded promising. Hearts Look Twice is a very satisfying rock album, with a steady stream of mid-tempo tracks. The rhythm and instrumentation is as one might expect of an artist channeling the recording style of the 60's and 70's, all the way down to a regular use of piano and organ support throughout. Without some other shining beacon, it's the kind of music that might get lost in your musical memory... "yeah, I remember thinking that was a cool album." Fortunately, the shining beacon is the songwriting, and, possibly even more importantly, the sense of ownership that Vidaic pins to almost every song on the album. Whether autobiographical, personal, or whimsical, these are HIS songs. Watch them grow, evolve, and thrive. Ah, it must be satisfying to put one's own name on a project. From the guitar lead of "Tula's Song" that welcomes you to the style of Hearts Look Twice through the excellent and humorous finale ("Sabotage") that has fun with pessimism and expectations, there is a lot to like on this album. "Taste The Ghost" casts doubt and uncertainty on religion. "New Side Of You" wonders about change, in seasons... in people. And, "Turning On Me" is paranoia in song form, showing off the wit and talent of the songwriter. The first reaction a new listener may have to this album could be one of detachment. The overall tone is laid back, so don't expect to be riled to action. These pieces are more observational. I felt a little indifferent after the first listen, but I was still curious enough to come back. The best music on Hearts Look Twice is not necessarily in the vein of that classic single that grabs you immediately. Give "Taste the Ghost," "New Side Of You," "Turning On Me," "Back to the Sea," and "Sabotage" a second listen. Pretty soon, you may (like me) have a hard time remembering when Steven Vidaic wasn't one of your favorites. Oh yeah... if you're into Super Audio CDs, this is a great immersive experience that uses the surround speakers effectively, if not blatantly. Plus, how often do you get to buy a *new* album (2012) in this format?

For me, Pete Wylie's Sinful was a $0.10 purchase from a McCrory's in the Sherwood Shopping Center. Part of a veritable pile of bargain "finds," this cassette was part of a purchase that probably doubled my music collection sometime around the turn of 1990. Sharing the limelight with the likes of Ranking Roger's Radical Departure, this particular album was interesting to me as a kid, something that sounded like something bigger. Sinful is the 1987 solo release by the leader of Wah! (in its various incarnations). Having never heard any Wah!, I am unable to draw comparisons. However, this album can stand on its own. A slice of the 80s, with bombastic percussion and guitars, Sinful is stadium rock for the gentle set. And, I mean that in a good way. The songs are slogans of love and hope and caring. The cynical or staunchly alternative listener will shrug this off as an artifact. But, those who can escape their stereotypes and just enjoy some big rock and roll may just find a gem. The title track was a hit in the UK and a catchy lead to the album. Note the use of synthesizers and backing vocals; feel the energy and enthusiasm - they'll be there for the entire journey. "Shoulder to Shoulder," "Break Out the Banners (of Love)," and "If I Love You" are the medium volume rockers that lay the foundation that culminate in the "We Can Rule the World" and "All the Love" climax on tracks 7 & 8. This is a guilty pleasure listening experience. Turn it up and feel it. And, in the midst, enjoy one of my favorite songs. Period. "FourElevenFortyFour" is very much in line with the rest of the music on this album. It fits. But, it's the composition that makes you feel that there's something deeper going on with Pete Wylie's lyrics. Leading with the almost silly sounding: "My love is a rainbow and my love is falling grey rain...", this is a great love song and a lament. I think. The title has historical reference to gambling, sex, and penis size, but these don't seem to be Wylie's topic. He is (or was) in love and the object of his love is gone. In the past, I debated the meaning of the title and who was the recipient of his caring. It's beyond my feeble mind. Regardless, it's a diamond among gems. Enjoy.